Review: Macbeth at Shakespeare’s Globe Theatre

⭐⭐⭐ (Three Stars)

Shakespeare’s Globe Theatre, with its open-air atmosphere and unique connection between actors and audience thanks to its standing pit, offers the perfect setting to experience Shakespeare’s work. Truly, there is no better place to witness the power of Shakespeare’s words than in this iconic theatre on London’s South Bank. This particular production of Macbeth, supported by Deutsche Bank to provide thousands of young people from lower-income families with the opportunity to experience Shakespeare, brings a fresh approach to the iconic and regularly-staged tragedy. 

Directed by Lucy Cuthbertson, this Macbeth is an abridged, 90-minute version of the play, managing to preserve the essence of the full work despite the reduced runtime. The story has been transplanted into the modern day: characters interact with mobile phones and tablets, and the Porter's speech is revamped with references to Snapchat streaks and TikTok. This move is undoubtedly aimed at making the play more accessible to a younger audience, but the anachronistic references from the text of the play often clash with the modern elements, creating an occasional disconnect. While the updated time period adds a layer of relatability, it doesn’t always blend seamlessly with the nature of Shakespeare’s writing.

A highlight of this production, however, is the unique take on the three Weird Sisters. Traditionally depicted as witches or spirits, here they are portrayed as innocent civilians killed by Macbeth’s army forces at the very start of the play and who return to haunt him. The actors (Victoria Clow, Lucy Johnson and Rhiannon Skerritt) perform impressive and acrobatic choreography throughout the play. This fresh framing adds a layer of tragedy to their roles, making them not just supernatural entities, but victims whose deaths fuel Macbeth’s guilt and paranoia. Similarly, Banquo's ghost, later in the play, is given a striking acrobatic performance that underscores Macbeth’s descent into madness as he is haunted by the spectre by his former friend. 

The production also leans heavily into the physicality and aggression of the characters. The combat sequences (with fight direction by Sam Lyon-Behan) are intense, with plenty of stage blood being spilt. However, while the fighting is dramatic and effective, the overall tone of menace and darkness feels somewhat diminished. Unlike some other Macbeth productions that delve deep into the psychological terror and corruption of power, this rendition, while engaging, doesn't quite capture the same atmosphere.

Despite these criticisms, the production is a great introduction to Shakespeare for younger audiences. The Globe's initiative to offer thousands of school children the chance to experience the play is commendable, and this fresh take on Macbeth will certainly resonate with many. While purists may find the modern framing occasionally jarring, there is no doubt that this version provides a compelling and accessible way for new generations to engage with Shakespeare's powerful tale of ambition, guilt, and fate.

Macbeth runs at Shakespeare’s Globe Theatre until 20th April 2025.

Photos by Tristram Kenton